Baggage
by BrilliantDarkness
Summary: Someone is carrying a lot of old baggage that they are dumping on a small town. Big bro/little bro interaction with Reid/Morgan. Possibly disturbing crime scenes for those with tender tummies.
1. Chapter 1

It is dark. From the inside of a house looking at the front door, a shadow appears through the curtain in the glow of the porch light. After a couple of attempts (presumably with the wring key) the door is unlocked. It opens and in staggers a man in his late fifties to early sixties. He is obviously drunk. As he enters, he barks his shin in a small table next to the door and curses mildly. He closes and locks the door, dropping his keys on the table. He continues down the hall bumping into the walls more than once finally reaching the bathroom where he goes in and relieves himself. As he turns he is met by a dark figure. His eyes widen.

Man: Wh…who are you?

Dark figure (very raspy voice): I've been waiting for you, Daddy.

The figure raises an arm and in the fist is visible the metallic glint of a blade. The knife is brought down rapidly and there is a spray of blood across the mirror.

At the BAU headquarters:

Morgan: C'mon kid, who is she?

Reid (trying to remain engrossed in a pile of folders): I have no idea what you are talking about.

Morgan: Reid, don't lie to me man, you've been out of here every night at 5 on the dot for the last two weeks.

Reid: You know I've been teach-

Morgan: I know about the class you're teaching over at William & Mary. I also know that it only meets Mondays and Wednesdays. Where you hurrying off to the rest of the time?

Reid (looking a little more like a deer in headlights than usual): Ah..um..Prep-

Morgan: Preparation? Really? It's a class on statistical analysis, Red. The last thing you need or your students will want is for you to prepare any more.

At this Spencer is broken. He knows it is no use to try to hide this anymore. He also knows he is in for some ribbing. While it's true that Morgan never means any harm, he is so conditioned to feel self conscious that he often still feels like he is back in school…the only 12 year-old in the senior class. Oh and it would be so nice to confide in someone; to be able to share some of recent joy. And Morgan had always been like a big brother to him but….Spencer's mind drifts away to Maggie. The image forms of her sweetness. How carefree and beautiful she is to him. Her long flowing hair and sweet smile and how she always seems to smell of some exotic and intoxicating fruit. Maggie was untouched by the BAU; by everything that went on here. Maggie was his safety and his haven. Spencer is obviously torn but opens his mouth to speak resigned to the fact that he now has to tell Morgan about Maggie.

Hotch: Conference room. Now.

Spencer looks relieved and a little grateful for the job security that is the national crime rate. Maggie could be just his for a while longer.

In the conference room crime scene photos are being splashed up on the boards at the front of the room.

Hotch: This is Walter Fritz. Six weeks ago he was found stabbed to death in his home. His hands and genitals were removed post-mortem-

Morgan (wryly): Thank God for small favors.

Hotch glances quickly at Morgan and then continues.

Hotch: On the wall was this in the victim's blood.

The slide shows a childlike drawing of a house with a family of three in front; father, mother and child.

Rossi: So they have a sicko, why are we just getting the call now?

Hotch (bringing up next slide): This is Ned Dowling, He was found this morning.

As the jet flies…

Morgan's voice: Maybe that's what hell is. You go mad and all your demons come and get you as fast as you can think them up." The author Anne Rice


	2. Chapter 2

The outside of Ned Dowling's house is swarmed with law enforcement. A black SUV pulls up to the curb and out step Hotch, Morgan and Reid. The sheriff looks up and sees the agents and turns to the deputies he has been talking to.

Sheriff: 'Scuse me boys… (Turning to the newly arrived FBI agents and holding a hand out to Hotch) John Lucas. So you guys going to figure out what in the hell we are dealing with?

Hotch: Aaron Hotchner (shakes Sheriff Lucas' hand and gestures to his cohorts) SSA's Derek Morgan and Dr. Spencer Reid. That's why we're here.

Sheriff Lucas: This your whole team?

The older man was looking rather doubtfully at this seemingly mismatched trio. There was the muscular black man in the T-shirt who looked ex-military. He carried himself like a Marine at any rate. Then there was the scrawny one. He looked like a twelve year-old who raided Mr. Rogers' closet. Sheriff Lucas wondered how he stayed upright with that gun that was as big as he was strapped to his hip. And finally this Hotchner fellow; now he looked like a fed with his dark suit and scowling eyes glaring out from behind his sunglasses.

Hotch: Half of it. SSA's David Rossi and Emily Prentiss are at the other crime scene. SSA Jennifer Jareau went to your station to set up and make sure we have everything we need when we get back. She's also our media liaison and will most likely start working on information control. Now tell me about Ned Dowling here. What information has been released?

Sheriff Lucas: Well, we couldn't hide the fact he was murdered. This is a pretty small town but we didn't want to scare everyone half to death so we didn't release any real details. No one outside this scene right now knows what happened to the body after he was killed and certainly no one knows what's on the wall.

Morgan: Same as Walter Fritz?

Sheriff Lucas: Not exactly but enough to know it's the same guy. Come see for yourself.

The Sheriff leads the agents to the living room where there once again was a drawing on the wall in the victim's blood. Once again there is the house and the family but the father is even larger and sort of towering over the child and mother. There was no smile on the child's face. Above the picture the words, "You do not do, you do not do."

Reid frowns a bit and the wheels are clearly turning in his head.

Reid (starting soft as if to himself): You do not do, you do not do…you do not do, you do not do (louder as if the switch just flipped on in his mind) Anymore, black shoe!

Sheriff Lucas looks at Reid as if at a very strange specimen at a museum. In honesty, if this were still his crime scene, he wouldn't have let this kid in but he asked for help and it suddenly became someone else's scene. Morgan and Hotch seemed mostly unaffected by the young doctor's outburst. However Morgan does turn to his colleague knowing that there is more to follow.

Morgan: Fill us in, Kid.

Reid: It's the first line of a Sylvia Plath poem called "Daddy." In a BBC interview Plath described this poem as being about a girl with an Electra complex-

Hotch (explaining to the sheriff): A young woman's unconscious sexual desire for her own father.

Reid: She went on to say that the girl's father died when she still saw him as a god. The poem even states clearly that she was 10. Plath went on to explain that the father had been a Nazi and her mother part Jew creating an almost paralyzing conflict. Although putting aside what Plath herself said, poetry is open to interpretation and this one could be describing life with a very domineering and perhaps even abusive father.

Sheriff Lucas: Well, Ned didn't have any children.

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Inside Walter Fritz's house, Prentiss and Rossi are standing in front of the crudely drawn blood picture.

Rossi: It looks as if it was drawn by a child of around five.

Prentiss: The child in the picture looks to be a boy. He's smiling.

Rossi: See how the boy and mother hold hands. They are smiling. The father has a flat expression and he's off by himself.

Prentiss: Seems disproportionately larger than he ought to be.

Rossi: Not by much. If a child drew this, that just might be how he sees his father, as very tall. Or it could have just been the child's less mature sense of proportion.

Prentiss: You're not suggesting that a child was here at the crime scene finger painting in a murder victim's blood.

Rossi: Of course not. It's too high on the wall to be a five year-old and the unsub was clearly wearing gloves while drawing this. No, our guy is trying to tell us something.

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The team is reassembling at the Sheriff's station and comparing notes.

Morgan: Hey, Reid….You going to be okay with this case?

Reid gives Morgan a questioning look.

Morgan: All kidding aside, man, I know you still have some anger at your dad for leaving. I've read that poem too… (In response to an even more questioning look from Reid) there was this kind of Goth type girl in high school. Anyway, that poem also talks a lot about abandonment.

Reid: Why do you do that?

Morgan: What?

Reid: Treat me like a kid. As if I'm the only member of this team with baggage; or the only one who can't put it in perspective.

Morgan is taken aback by the actual anger in Reid's outburst.

Morgan: Reid…hey…I wasn't…I didn't mea-

Reid: You know, Morgan, I should have been asking you that question. Do you think you can handle this one? And don't look at me like you don't know what I am talking about. Look at the crime scenes. Look at the way the body is mutilated. You think that is just anger from being left? Our unsub was sexually abused as a child. So are you going to have a problem?

Reid regretted bringing up Morgan's childhood abuse the second he did it but he refused to show that. He was too angry. He looked around the room and realized that the whole sheriff's station has gone silent and everyone is staring at the two men. Morgan storms outside muttering that he needs some air. Reid walks over and tops off his cup of coffee. He then stands in front of the dry erase board set up for the team and starts to scrawl down the entire poem. Prentiss walks up behind him. Like everyone else in the room, she witnessed the argument between Morgan and Reid but can tell now isn't the best time to take to Reid about it.

Prentiss: The poem's about a girl, right?

Reid: Yeah…

Prentiss: Then why is the child in the picture a boy?


	3. Chapter 3

Note: I first want to thank everyone who has taken the time to read this story and make comments. For the most part you guys are fueling my self-esteem greatly. Please keep offering reviews.

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Outside the sheriff's station, Morgan is leaning against the wall next to the door. Reid walks out.

Reid: Morgan, look, I'm really sorry.

Morgan: Thanks, Kid, but I deserved it.

Reid: No…I really crossed a line. I know I do that just being a little socially inept but I did this on purpose. I was so mad I just wanted to hurt you somehow.

Morgan: Let's face it, I drove you to that line and gave you a shove. You're right. I treat you like a little kid. I tell myself that you understand that I see you like a kid brother but I know that I crossed a few lines before you ever got close to that one. We're cool.

Reid seems relieved. The two men stand in silence for a few moments. Morgan stirs as if to go back inside the building.

Reid: Her name is Maggie.

This stops Morgan in his tracks.

Morgan: Who's?

Reid: My, um…friend. Girlfriend.

The way he says this it is obvious he had never actually used that term before. It sounds good to him and he resists an urge to sing it over and over to himself.

Morgan: I know I tease you but you don't have to tell me. You want to keep something safe from this black hole we walk into at work; it's fine with me.

Reid: Actually I have been dying to tell someone. It's not like I have a great deal of friends outside of the team.

Morgan: So spill.

Reid: We met at William & Mary.

Morgan: You're not dating one of your students are you?

Reid: Of course not. She's a literature professor. Romantic Poetry. She is the total antithesis of this job. She is cheerful and happy and warm. Completely untouched by the horrors of kidnapped children and mutilated corpses.

Morgan: Pretty?

Reid: Beautiful…see?

Reid holds up his cell phone to show Morgan a picture of Maggie.

Morgan: Wow…she sure is. Look, you're all grown up now and maybe it's time for that talk. I know your dad wasn't around for that man to man talk.

Reid: Too late.

With that and a small smile, Reid goes back inside giving a slightly stunned Morgan a playful punch in the shoulder as he passes him.

Morgan: Spencer Reid, my man!

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Back inside Reid walks up to the board where the poem is written and just stares, trying to divine the hidden meanings and bring them into the light. Prentiss is already standing there doing the same thing. She has been there since she watched Reid write the poem from memory.

Prentiss: Is it possible we are looking for two unsubs? I mean, the crime looks like a man killing but the mutilation makes me think female. Hands I can see a guy chopping off but the genitals? That's going to make most men queasy just to think about it. The picture depicts a boy but the poem is about a girl.

Reid: It is curious but I believe we are looking for just one man.


	4. Chapter 4

Everyone is assembled for the profile briefing.

Hotch: Everyone…remember the profile is just square one. This isn't going to make our unsub glow in the dark. It's up to everyone in this room to put it in action. You have the advantage, especially in a small town. To start with, our unsub is a white male in his mid-twenties to around thirty.

Sheriff Lucas: No offense but how can you know that?

Hotch: This part of the profile is based almost entirely on statistics. Women and men have very different motivations for killing and therefore kill in very different ways.

Reid: We typically think of a serial as a man mostly because men are motivated by anger or a need for a sexual release.

Rossi: Women, by and large, when they kill are motivated by financial or emotional concerns.

Prentiss: The term female serial killer is even a little controversial. Many think there is no such thing. There is but usually we see an insurance scam behind it or something of that nature. Other times women are hero killers. Medical professionals who put patients in danger so that they can be saved.

Reid: Your murders are the work of a highly organized and ritualized killer motivated by anger and a sense of revenge. Aside from the case of Aileen Wuornos, even I can't think of a woman with these motives. She wasn't exactly an organized killer either.

Rossi: We believe our unsub was sexually abused as a child. Given the psychological development level of the drawings, I'd say the abuse started around the age of five.

Morgan: The poem used suggests a father figure-father, uncle, grandfather-is responsible for the molestation. The killings are a kind of revenge.

Deputy: So he thinks these men are his father?

Morgan: No, he's surely not delusional but he sees certain characteristics of his father in these men.

Reid: In the poem there is the line, "I thought every German was you and the language obscene." This could mean that even one quality-age, height, same car, whatever it might be is enough to demonize the victim and condemn him to death.

Prentiss: We are also not looking for someone in a stable relationship. This man is most likely either impotent or feels sexually inadequate. This is common when boys are abused by men. There is a shame even greater than female victims because of the implied homosexual component. He's using the knife as a surrogate for a sex act…for his release.

Hotch: And he's on a power trip. That's why the pictures are left. Clues to taunt us.

Prentiss: And we can't completely rule out Dissociative Identity Disorder.

Deputy: English please.

Reid: Multiple Personality Disorder. That term is no longer in use. But DID would explain some of the inconsistencies in this case. Why the poem is about a woman while every other piece of eveidence suggests a male unsub.

Sheriff Lucas: We have another body.

Hotch: And now he's accelerating.


	5. Chapter 5

Note: I think I am almost done with this story if you can all stick with me a couple more chapters. As always I appreciate the feedback be it good, bad or indifferent. Though if it's indifferent then why would you bother to write it at all? Hmmm....

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At the new crime scene, the team is just getting out of their vehicles. There is a crowd of townspeople being held back by sheriff's deputies and the state police who have been called in to help manage the crime scenes in this small town.

Hotch: So much for information control. J.J., see if any of those busy bodies saw anything.

The rest of the team is ushered into the house by Sheriff Lucas. The all stop around the body of a man in his late fifties.

Sheriff Lucas: Floyd Wallace. Looks like he was surprised here as he came home from work. He sells insurance.

Rossi: Who found him?

Sheriff Lucas: His wife, Viola. This is one of her days she spends volunteering at the hospital so she didn't get home 'til just a bit ago.

Rossi: And our unsub knew that.

Reid, Morgan and Prentiss are wandering over to the drawing on the wall in the living room.

Prentiss: Smeared blood. He was dragged in here after he was killed…like the others.

Reid: More likely after he was incapacitated. The amount of blood in here suggests Mr. Wallace actually bled out where he lies…but you are right that it's just like the others. The initial attack came in another room in the house but the fatal blow and subsequent mutilation occur in the living room.

Morgan: And we have another art project on the wall.

Prentiss: Daddy's getting scarier every time. Look how small the child is now in comparison. The father is almost as tall as the house.

Prentiss looks over at Reid who has been studying the new quote. Reid furrows his brow and picks up his phone.

Garcia: Speak to me, Child!

Reid: Hey Garcia, could you hack into a hospital database for me?

Garcia: You know I can, Sugar. Now what am I looking for once I get there?

Reid: Suicide attempts. Males. Going back ten or fifteen years.

Garcia: Depressing…how come I'm never asked to look for fluffy kittens?

Morgan: Because fluffy kittens don't murder men in their own homes and cut off their private parts.

Garcia: Fine, I'm on it.

Morgan: Suicide attempts, Reid?

Reid: I thought you said you'd read the poem.

Morgan: Well, I know you've read it and can recite it. How come you're just getting to this suicide angle now?

Reid: Because the unsub is just divulging it now.

Prentiss (reading from the wall): "But they pulled me out of the sack/And they stuck me together with glue/And then I knew what to do." I get the suicide attempt; it's the part where she says she tried to die to get back to her father. But "I knew what to do"?

Reid: It's about finding a surrogate for the father and killing him.

A phone rings.

Morgan: Hey, Baby Girl, what did you find?

Garcia: That they ought to start putting Prozac in the water supply there. Mostly females trying to end it all though which helped my search a bit. After eliminating the fellows who succeeded or moved away, I have two names for you. Darryl Wheeler and Brent Wrobleweski.

Reid: Garcia, you're the best!

Garcia: Awww…thanks baby!

Morgan: Sheriff, what can you tell us about Darryl Wheeler and Brent Wroblewski?

Sheriff Lucas: Well, I doubt Brent is out man.

Rossi: Why do you say that?

Sheriff Lucas: Tried to kill himself a couple of years back with a gunshot to the head. He was in a coma for a couple of weeks. Pretty severe brain damage. Last I heard he was relearning to tie his shoes. I don't think he can even hold a knife and I sure as hell doubt he's quoting poetry.

Morgan: How about Wheeler?

Sheriff Lucas: Quiet kid, keeps mostly to himself these days. Works over at the hardware.

Reid: Why "these days"?

Sheriff Lucas: Pardon?

Reid: You said he keeps to himself these days, there is an inference-

Sheriff Lucas (realizing what Reid was asking): Darryl was a fairly popular kid in high school. Played football and baseball and got pretty good marks. Got himself a scholarship and went off to college. No one figured he'd go pro but he planned on becoming a lawyer.

Morgan: So what happened?

Sheriff Lucas: No one really knows, aside from Darryl, that is. His second year away he came home at semester break and never went back. A couple of months later he tried to hang himself in his family's barn. From a pretty high rafter. The rope broke. His parents found him on the floor with the rope still around his neck and two broken legs.

Hotch: We need to talk to him.

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At Darryl Wheeler's house, Darryl is sitting on his front steps with a beer in his hand as the sheriff and BAU team arrive. There is still a glimmer of the handsome man so full of promise that he had been. But it was a glimmer that was pretty hard to see here on the steps of a house that could better be described as a shack with rusted out auto parts scattered all around the bare dirt that passed for a yard.

Darryl: Hey Sheriff, what's up?

Sheriff Lucas: These folks are from the FBI, they have a few questions for you.

Darryl: Sure thing. What's this about?

Hotch: Where were you today around 5:30 p.m.?

Darryl: Work. I didn't get out until 7. What's going on?

Reid: Darryl, why did you leave school?

Darryl (sighing like a man broken): Good student in a little piss ant town like this don't mean much at a big university. I wasn't as smart as I thought I was. I flunked out. After I got home, I felt like such a disappointment. I was supposed to be the local boy who made good. I thought I could just end everything. I flunked at that too.

Morgan starts to ask something but before he can, Reid pipes up.

Reid: Thank you for your help, Darryl. Have a good day.

Morgan looks perplexed as the team heads back to their vehicles.

Reid: He's not our guy.


	6. Chapter 6

Back at the station the team is visibly deflated.

Morgan: Not that I doubted you but Darryl Wheeler's alibi checks. Not only was he on the clock but a Mrs. Henderson clearly remembers him taking a good half hour mixing paint for her and answering all of her questions about what she'd need to redecorate her bathroom.

Reid is sitting at a desk with his legs crossed-what once was called "Indian style" before it was deemed an offensive term. He looks up at Morgan with a look that said he would rather have been wrong. Reid then went right back to what he was doing which was staring endlessly at the evidence boards while fidgeting with a rubber band.

At an adjacent desk, Prentiss, Rossi and Hotch were talking the situation out.

Hotch: It's a good profile. I still believe in it.

Rossi: Me too but somehow we're missing something.

Prentiss: I still can't get past the inconsistent references to male and female.

Morgan (he's been listening into their conversation): I'm starting to agree with you there too. Hands are one thing. That alone might be enough revenge for sexual abuse. Or you might expect to see the genitals exposed or a gun used to shoot the crotch area. Even post-mortem, I'm having trouble seeing a guy cutting off another guy's junk.

At that, the rubber band Reid was playing with sails by Morgan's head and Reid bounds out of his chair to the board. The team looks up to see Reid studying the photos of the blood paintings with a magnifying glass.

Reid: Missed it. Missed it. How could I miss…

Prentiss: Reid, what did you miss?

Reid: Not sure yet but it's got to be here.

Morgan: Kid, we've all gone over and over that and-

Reid: We were so wrong.

Rossi: About what?

Reid: The whole profile.

Reid grabs his phone.

Garcia: Genie in a bottle, what is your wish?

Reid (Garcia is on speaker): Only one Garcia, could you go back over the suicides. Not attempts this time. Males. I need someone with a surviving sister.

Garcia (typing frantically): Give me just a second here Encyclopedia Brown…got it! William Clayton. Shot himself in the head dying instantly. So much for leaving a good looking corpse. That was three years ago. He had a twin sister, Rosemary.

Reid: Is she married?

Garcia: To Andrew Dillingham two years ago and…oh…

Reid: What is it?

Garcia: The parents died in a car accident two months ago. Apparently Dad didn't choose a designated driver.

Reid: Thanks Garcia!

Reid turns to his very puzzled looking colleagues and takes a breath to collect himself.

Reid: First of all, you were right (gesturing at Prentiss). Your instincts were leading you to the right conclusion. Our unsub is indeed a woman but she's motivated as a male offender.

Morgan: DID?

Reid: No but I think it's somewhat similar. Twins, even dizygotic or fraternal have a very significant bond. It is not uncommon for someone to feel a profound loss most of their lives and then find out that he or she had a twin that was miscarried or stillborn.

Hotch: Twinless twin syndrome.

Reid: Right. I don't know how I missed it but look in the window here in the drawing. In every one of the drawings.

Morgan: I'll be damned…there's someone there.

Reid: It's not completely clear male or female but the hair seems a little longer and it makes sense of our problems with gender roles and murder. Looking at the picture we see Rosemary ignored, not even part of the family unit while William was terrorized by his father. Ultimately William killed himself and Rosemary was devastated. She did what the poem said and married a man just like her father to finally try to get some of the affection she had so craved. Then her parents died and that was the stressor.

Prentiss: So now what do we do?

Reid: We hurry. She's going to kill her husband.


	7. Chapter 7

SWAT and FBI surround the small bungalow-styled home of Andrew and Rosemary Dillingham. Hotch and Morgan approach the back door. Hotch tries the doorknob and seems surprised when it turns and he is able to open the door. The two men creep in followed by Prentiss and Rossi and, lastly, by Reid.

In the living room, Rosemary is looming over her husband Andrew's quickly expiring body. Reid backs up a bit and quietly communicates to those outside that an ambulance will be needed. Rosemary is wide-eyed and frantic. Her medium length dark hair is tangled and plastered to her face with sweat.

Rosemary: Ignored! Ignored! Why couldn't you love me, Daddy?! No! Daddy! No, it hurts! Stop Daddy, stop!

Rosemary is somehow simultaneously the abused and the ignored and every bit of hurt and rage is directed at the nearly lifeless Andrew.

Hotch: Put the knife down, Rosemary. He can't hurt you anymore.

Rosemary straightens and looks at the agents now all filtering into the living room with guns drawn. The air seems to leave her body at that moment and she slumps to her knees, head bent down. There is a dull thud as the knife falls to the floor next to her. Immediately she is swarmed by the agents and put in handcuffs.

As Rosemary is lead out of the house staring blankly ahead, Reid turns to see a message on the wall in what looks like red marker or maybe lipstick. It is the last line of the poem, "Daddy, you bastard, I'm through."

Paramedics swoop into the room and begin working to save Andrew. The agents walk out the front door and head to their vehicles amidst a veritable storm of sheriff and state police cars.

Reid's voice: "Nobody who has not been in the interior of a family, can say what the difficulties of any individual of that family might be."-Jane Austen

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On the plane, most of the team is asleep and Reid has his nose buried in a book. Morgan slides into a seat across from him.

Morgan: Not sleeping?

Reid (putting the book down): Can't. I tried but I just can't.

Morgan: So what's going on in that giant brain of yours?

Reid: Andrew Dillingham died en route to the hospital. He had just lost too much blood.

Morgan: You can't be feeling guilty about that. You figured it out when the rest of us had jack squat.

Reid: It's not guilt. Not exactly. I'm just trying to reconcile that scene-those scenes-with, well…

Morgan: Maggie?

Reid: Yeah. I feel bad about Andrew Dillingham and the others and really terrible for all that Rosemary and William had to endure. But my first thought when Rosemary was in cuffs was that I could go home and see Maggie now.

Morgan: I saw you on the phone.

Reid: I just missed her voice.

Morgan: It's good, hell it's even healthy that you can set the bad aside for something good.

Reid: I worry if I really can put it aside. I mean, Maggie knows what I do for a living but I have spared her the all too often gory details. I don't know if I can, well, you know…function normally with some of the images that I have in my head.

Morgan: After this case, the condition of the bodies, I may not be functioning normally for a while. Don't worry, she'll understand.

Reid: Are you sure? You don't even know her.

Morgan: I know if she can't understand the toll this job may sometimes take on you then she isn't worth this worry. Besides, there's got to be more to this relationship than sex, right?

Reid blushes and looks a little flustered that Morgan would use the "S" word in this context.

Reid: Of course, it's just…

Morgan: You just look at that picture of her some more and think about how soon we'll be landing and you can see her in person.

Reid smiles and nods a gesture of thanks. He takes out his phone and looks at the picture. Before long he is drifting off to sleep.

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Well, that's the end of this line folks. Hope you have enjoyed this ride. Please keep all limbs inside the vehicle until it comes to a complete stop and don't forget to let me know what you thought of this one. It went on a little longer than I thought it would but that's just how this goes sometimes.


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